何云昌——《行為的翅膀》
《行為的翅膀》(The Wings of Live Art)將占據(jù)北京麥勒畫廊的所有展覽空間。這場內(nèi)涵豐富的個展由三個部分組成，將全面及多方位展示中國當代最優(yōu)秀的行為藝術家之一何云昌(1967年生于昆明梁河縣)的創(chuàng)作成果。展覽的中心《一根肋骨》(2008年-2009年)是一個充滿挑戰(zhàn)及內(nèi)容豐富的項目，它由相互關聯(lián)的行為、雕塑、攝影、影像和繪畫等作品組成。同時，展覽還呈現(xiàn)了他的其他新作及一組有回顧意義的紀錄藝術家早期一部分行為藝術的照片。
《一根肋骨》項目中的作品都源于一個發(fā)生在公眾視野之外的行為藝術。2008年8月8日，藝術家為將自己的一根肋骨從體內(nèi)取出而接受了一個醫(yī)學上并不必要的手術。由此，何云昌身處緊閉的手術室大門背后;在藥物的作用下，他在大部分手術過程中都處于無意識狀態(tài)，在這種狀態(tài)下體驗著自己的行為作品。他刻意地讓自己沒有能力在手術實施時去控制它，因而顛覆了他過去作品中的一個核心要素：即行為作品的成功與否很大程度上由其對身與心的毅力強化呈現(xiàn)來決定。
同何云昌早期的作品相比，《一根肋骨》充滿了更加私密而帶有情感宣泄性的存在主義內(nèi)涵。無疑，這是一個強悍浪漫而瘋狂冷酷的項目，也是一件充滿詩意的杰作。取出肋骨不僅代表了這個行為藝術的終結，也標示著其它關聯(lián)作品的起始。但不同于早期作品的是這個作品通過一個物體——肋骨——來實現(xiàn)何云昌所稱之為的“整個項目中最重要的文獻”。充滿著象征意義的肋骨被做成了一根項鏈，在后續(xù)的五張攝影作品中承載了至關重要的觀念含義，還反復在紀錄了整個項目不同階段的影像作品中出現(xiàn)。
項鏈名為《夜光》(2009年)，由肋骨和400多克黃金制成。何云昌將一種粗糙、堅硬、有烏青色澤的材料(未經(jīng)處理的肋骨)和另一種珍貴、柔韌、暖色的材料(黃金)組合在一起，表達了人們通常對賦予各種事物的價值上的質(zhì)疑。項鏈的黃金頸圈打制成了雙頭神獸的形狀，龍頭分列在蛇形頎長主體的兩端。何云昌項鏈中的龍僅僅是出現(xiàn)在他諸多作品中對神話傳說和哲學理論引用的例子之一。
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除了引用中國文化的元素之外，《一根肋骨》還參考了基督教傳統(tǒng)的元素?！妒ソ?jīng)》給何云昌帶來了靈感，特別是“創(chuàng)世紀”第2.21-2.23章中的記載：上帝用亞當?shù)囊桓吖侵圃炝讼耐?。何云昌感興趣的不是將這個上帝造人的神話用藝術轉換的方式在今日重現(xiàn)，而是肋骨的象征意義——男人和女人之間永恒的關聯(lián)性。
這種關聯(lián)通過《一根肋骨》的圖片進一步得到了強化，這組圖片由何云昌分別與五位曾經(jīng)或現(xiàn)在和他有著非常親密關系的女性所拍的照片組成，其中有他的母親、夫人和前妻。在這個像是某種供奉儀式的場景中，這些女性戴的項鏈是一個為避免肋骨變形而采用普通未經(jīng)加工的金屬材料制成的“臨時”版本──項鏈最終將用黃金打制。這五張在不同時間和地點拍攝的照片(159.8 x 126cm)有相似的構圖：畫面中的人物都在相同景深的距離內(nèi)相依而坐，背景相同，有著能令人想起老式家庭照片的橢圓輪廓──當然老照片顏色沒有這么鮮艷，人物著裝也沒有這么現(xiàn)代。照片中的背景是用在不同的照片中噴上不同顏色的干花做成;照片中人物則有著復雜的表情、姿勢和細節(jié)，使人能察覺到他們的情感和關系——即便有的關系已成為歷史。由于何云昌對這種半遮半掩自嘲在作品中的拿捏，俗氣的背景板和人物之間的對比使這些照片有了各自的特點。
和他早期的許多畫作一樣，何云昌通過《一根肋骨》項目而完成的現(xiàn)實主義油畫則忠實參照了用來紀錄整個行為藝術的照片。如果這些作品可以被看作是另外一種幫助大眾理解他的行為藝術的方式的話，那么，對于藝術家來說，它們也是非常重要的一種知識形式。借助這些作品，他可以采用另外一個角度去觀察并重現(xiàn)這個行為藝術。
文： 簫嶺(Nataline Colonnello)
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展覽名稱: 行為的翅膀——何云昌
展場: 麥勒畫廊 北京-盧森，北京
藝術家: 何云昌
開幕式: 2009年9月12日,下午4：00 - 下午7：00
展覽時間: 2009年9月12日 – 10月31日
麥勒畫廊 北京-盧森，北京：
北京市朝陽區(qū)草場地村104號，郵編;100015
開放時間: 每周周二-周日，上午11：00-下午6：30
畫廊網(wǎng)站: www.galerieursmeile.com
郵箱: galerie@galerieursmeile.com
電話: +86 10 64333393
傳真：+86 10 64330203
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“The Wings of Live Art” - He Yunchang
Stretching throughout all the exhibition spaces of Galerie Urs Meile in Beijing, “The Wings of Live Art” is an extensive, tripartite one-man show that offers a multi-layered overview of the artistic production of leading Chinese contemporary performance artist He Yunchang (*1967, Liang He County, Kunming). The focus of the exhibition is “One Rib” (2008-2009), a challenging and multi-faceted project that consists of a variegated body of interlinked art pieces including performance, sculpture, photography, video and painting. Additionally, the show features other new works and a retrospective selection of photographs documenting the artist’s earlier performances.
All the works comprising the “One Rib” project are the result of a recent performance, held outside of public view on 08.08.2008, in which the artist underwent a medically unnecessary operation in order to have a rib excised from his body. For the first time in his artistic practice, He Yunchang experienced his own performance from behind closed doors, under a pharmaceutically induced state of unconsciousness for most of the surgery. By deliberately rendering himself incapable of actively controlling the situation while it was carried out, He Yunchang subverted one of the key elements of his previous works, in which the artist’s psychological and physical stamina both play a crucial role in the success of the performance.
Saturated with even more intimate, existential and cathartic connotations than the artist’s earlier works, the “One Rib” project is undoubtedly a powerful, crazy and at the same time highly poetic masterwork in which the extraction of the rib represents not only the end of the performance itself, but also the starting point for the other works originating from it. Unlike He Yunchang’s previous performances, this one is accompanied by an object--the rib--constituting what He describes as “the most important document of the project”. Imbued with a strong symbolism, the rib has been turned into a necklace that takes on pivotal conceptual implications in a subsequent series of 5 photographic works, and also appears in the video that records different stages of the whole project.
The necklace, entitled “Night Light” (2009), is a piece of jewelry made out of the artist’s rib and more than 400 grams of gold. The artist’s choice to combine a rough, firm and livid-hued material (the artist’s own unprocessed rib) with a precious, malleable and warm-colored one (gold) questions the common values we generally tend to confer onto things. Serving as the support for the rib, the satinated golden structure of the necklace is modeled in the shape of a double-headed mythological animal, with the two heads positioned at the opposite extremities of its elongated, serpent-like body. The dragon of He Yunchang’s necklace is just one of the many references to myths, legends and philosophical theories detectable in many of the artist’s works.
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Besides the references to Chinese culture, in the “One Rib” project He Yunchang also draws from elements of the Christian tradition, taking inspiration from the Holy Bible, in particular from chapters 2.21-2.23 of Genesis, in which Eve is created from Adam’s rib. What interests He Yunchang about this myth of creation is not its present-day enactment by means of an artistic transposition, but the symbolic value of the rib that here becomes the emblem of the eternal union between man and woman.
This bond is further sealed through “One Rib”, a series of photographs in which He Yunchang poses individually with five women, each of whom he once had or still has a very close relationship; among them his mother, his current wife and his ex-wife. In a sort of consecrating ritual, each woman is portrayed wearing a provisional version of the necklace, initially used to keep the rib in shape by means of an unadorned metal support, and not the final golden one.
The five photographs (159.8 x 126 cm each), although shot at different places and times, share similar frontal compositions in which subjects are sitting next to one another and at a similar distance from the camera, along with analogous backgrounds and identical oval outlines reminiscent in shape--but not in their vivid colors and contemporary clothing--of old family pictures. Not lacking in the partially veiled self-irony with which He Yunchang approaches his works to varying degrees, the photographs are characterized by the contrast between their gaudy backdrops, made from a board fully covered with withered flowers sprayed with an artificially hued finish that is different in each of the pictures, and the complexity of the expressions, stances and details through which the subjects’ emotional domains and bonds become perceivable--even when those bonds are a thing of the past.
Like many earlier paintings by the artist, the realistic oil canvasses He Yunchang realized on the occasion of the “One Rib” project are based on source documentary photographs strictly related to the performance. If they can be considered as another, perhaps more accessible channel for the public to understand his performances, they are as well an important means of knowledge for the artist himself, who can observe and revive the performance from another perspective through these works.
Text: Nataline Colonnello
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Title: The Wings of Live Art – He Yunchang
Venue: Galerie Urs Meile, Beijing – Lucerne, Beijing Branch
Artists: He Yunchang
Opening: from 4:00 to 7:00 p.m., Saturday, 12th September 2009
Exhibition: 12th September 2009 – 31st October 2009
Galerie Urs Meile, Beijing-Lucerne, Beijing:
Caochangdi No.104, Chaoyang District, 100015 Beijing.
Opening Hours: 11.00 am – 6.30 pm, from Tuesday to Sunday.
Website: www.galerieursmeile.com
E-mail: galerie@galerieursmeile.com
Phone: +86 10 64333393
Fax: +86 10 64330203
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【編輯：張瑜】
